Agitate loop 01

Agitate Loop 1 is an instrumental piece featuring some experimental sounds (a crystal wine glass being tapped and a plastic wrapper being ripped and processed) and more traditional sounds piano/guitar and synths (several pads and a drum beat) put together to create an atmosphere of tension.

Agitate loop 02

Agitate Loop 02 is an instrumental piece featuring some experimental sounds (a crystal wine glass being tapped and a plastic wrapper being ripped and processed) and more traditional sounds piano/guitar and synths (several pads and a drum beat) put together to create an atmosphere of tension.

Agitate piano short

Agitate Piano Short is an instrumental piece featuring some experimental sounds (a crystal wine glass being tapped and a plastic wrapper being ripped and processed) and more traditional sounds piano/guitar and synths (several pads and a drum beat) put together to create an atmosphere of tension. Good for cinema type projects.

Agitate short 01

Agitate Short 01 is an instrumental piece featuring some experimental sounds (a crystal wine glass being tapped and a plastic wrapper being ripped and processed) and more traditional sounds piano/guitar and synths (several pads and a drum beat) put together to create an atmosphere of tension.

Agitate short 02

Agitate Short 02 is an instrumental piece featuring some experimental sounds (a crystal wine glass being tapped and a plastic wrapper being ripped and processed) and more traditional sounds piano/guitar and synths (several pads and a drum beat) put together to create an atmosphere of tension.

William Wardell's 1859 St John's College - a rare realisation of Pugin's ideal Catholic College?

William Wardell’s St John’s College, Sydney, considered the grandest and architecturally most distinguished university college in New South Wales, is an exceptional example of 19th century Gothic Revival architecture.  The information board outside the college states that St John’s is ‘a rare realisation of Pugin’s ideal Catholic College’ and further that ‘it demonstrates [Pugin]’s profound influence on the work of Wardell’. This is but a small part of the story. The commission for St John’s College was far more complex.  The correspondence between the architects, William Wardell, Edmund Blacket and others, and St John’s Council indicates that right from the beginning there was a general lack of understanding of Wardell’s original design concept for the building. This has continued to the present day, as evidenced by the information on the board outside St John’s College, in which it is incorrectly assumed that Wardell’s proposal included a quadrangle as featured in Pugin’s ‘ideal College’. This paper, based largely on primary sources, investigates such claims about St John’s, considers William Wardell and the Gothic Revival, examines St John’s College within the University of Sydney – its design and its translation and posits a few conclusions leading to new understandings.

Re-discovering Wardell’s Chantry Chapel for Lord Petre : a crumbling fabulation

In January 2009 The Times reported that the Historic Chapels Trust (HCT) was undertaking the preservation and conservation of the Chantry Chapel of Thorndon Hall, near Brentwood, Essex, England, once the seat of the Petre family, one of England’s oldest Catholic families. The chapel has lain severely neglected for many years with missing and loose tiles, blocked gutters, and heavily eroded stonework. In spite of its desperate need of repair, inside, glimpses of the richly carved and lavishly decorated interior remain, witness to exquisite craftsmanship. Because of its quality Nikolas Pevsner had attributed the building to A W N Pugin. More recent research has established that in fact William Wardell was the architect.

By 1854, when Lord Petre commissioned this mausoleum for his estate, Wardell would have been especially known for his London curvilinear decorated churches at Greenwich, Clapham and Hammersmith. Wardell produced three complete sets of drawings for the Chantry Chapel. Drawings for all three designs are extant, and give valuable insights into Wardell's design methods and the evolution of his design thinking. They raise questions about Early Victorian and High Victorian Gothic sensibilities and establish Wardell’s architectural and design credentials beyond a doubt. This paper explores Wardell’s debt to Pugin, posits the Chantry Chapel as a rival to Pugin’s St Giles Church, Cheadle, and considers the question of patronage.

Now acknowledged to be ‘of outstanding architectural and historic interest ‘ by HCT and English Heritage, the Chantry chapel - a crumbling fabulation - is the subject of major heritage considerations. Questions about authenticity in rebuilding and reconstruction are currently overridden by the urgent need to secure the structure from collapse.

Gamblers' habit

The theories used to understand and predict regular non-problem gambling are almost exclusively affective or cognitive-oriented. These include motives, self-esteem, image enhancement and illusions of control over random events. However, gambling is one of the most frequently purchased consumer products, and the frequency of past behavior has traditionally been viewed as “habit” by psychologists and marketers. While habit as the frequency of past behavior has been shown to be a strong predictor of future behavior in gambling, habit offers little additional insight into gambling behavior in that form.

The frequency of past purchasing behavior is an important input to NBD-Dirichlet models that provide an enhanced ability to understand and predict future purchases of frequently purchased consumer package goods. NBD-Dirichlet models have been shown to provide an excellent fit to data for a broad range of frequently purchased goods and services for countries across the world. Applications of the NBD-Dirichlet models to data concerning gambling behavior show that these models consistently provide an even closer fit to the data than with other consumer models tested.

The interpretation of NBD-Dirichlet output can provide more accurate benchmarks than cognitive or affective output to test changes to the gambling environment (e.g., more games, new games, warnings) and to gamblers (e.g., problem gambling). The implications and use of the NBD-Dirichlet statistics for gambling providers and public policy is discussed.

Pleasure Island

Like the dilapidated castles of gothic fiction the works in Joel Zika’s Pleasure Island take architectural elements from a bygone era and create a new sublime spatial experience. Pleasure Island refers to the place where young boys are taken in the 18th century children’s story Pinocchio. It is a place where every temptation and vice has been given physical form in the façades of amusement rides, arcades and bars.

In the contemporary cultural context we revel in the symbols of extreme fears and emotion that the gothic used so well. Ghosts and skeletons are part of our visual language and speak of an underlying moral position perhaps better hidden than in generations past. The façade encapsulates the journey that awaits the entrant, an over the top sales pitch to make you come and explore. Our attraction to vice and the temptation of the commercial combine playfully in these works to create a theme park within the gallery.

Alexandra Watkins interviews Michelle de Kretser on 'Springtime'

Sydney in spring is a palette of luminous intensity. Fresh green spaces meet vivid blue skies. Lilac jacarandas burst into life throughout the city and its suburbs. It is time of renewal when locals and tourists take full advantage of this most favoured of seasons. It is a curious setting for a gothic tale, albeit the location for Michelle de Kretser’s latest work, Springtime: A Ghost Story. Bringing light to darkness this ‘black-spring’ interview with Michelle de Kretser questions Australian literary and cultural customs and environmental stereotypes. It also probes literary fashions, short form fiction, the Melbourne / Sydney cultural divide, gothic tropes, and the psychology of space. Through her discussion with interviewer Alix Watkins, de Kretser reflects on her interest in haunting, the influence of her Sri Lankan background, and the attraction of brevity following her previous epic Questions of Travel (Miles Franklin Award 2012).